『리용악시선집』 재수록 작품의 개작과 그 의미

Abstract

Selection of Lee Yong-ak's Poems, which has been discussed to represent the poet's poetic world after his crossing over into North Korea, was published in 1957 by Publishing Company of Joseon Writers' Alliance. It contains his old works and some works selected from his four collections of poems published previously as well as his new works after his crossing over into North Korea. It has total 38 poems republished, and 36 of them had form and content adapted for the occasion. It is important to examine the meanings of the adaptations in order to understand the poet's activities of poetry writing after his crossing over into North Korea. The purpose of this study was thus to investigate the adaptation patterns and meanings of the works republished in Selection of Lee Yong-ak's Poems of 1957. There are two groups of works in the selection; one is comprised of works from his previous collections of poems, and the other contains the remaining works. In the study, the investigator set out to closely examine the selection criteria of republished ones and the degree and significance of adaptation in adapted works. There are a couple of criteria to select works to be republished in Selection of Lee Yong-ak's Poems: first, his representative works were the first choices along with the ones whose completion level was high;secondly, the ones from his two collections of poems published after Liberation(Violets and Collection of Lee Yong-ak's Poems) were more preferred choices than those from his two collections of poems published in the latter half of the 1930(The Watershed and The Old House); and finally,of his works from the late period of Japanese ruling, the ones that were sentimental, dark, or exhibited anxious mentality were excluded. In Selection of Lee Yong-ak's Poems, poetic forms were adapted by altering the stanza composition and line changes. As a result, the ones whose line changes were uneven in his previous collections became overall even in the selection. In addition, the number of lines in a stanza became even among the works. After those adaptations, the works settled in a more visually stable structure and delivered acoustic rhythms that were more stable and easier to remember during recitation. Those adaptations of poetic forms with rhythms under consideration seem to have been influenced by the discussions about "metrics" among the North Korean poetical circles from the late 1950s to the early 1960s. In the selection, the adaptations of poetic content widely varied in pattern from changing postpositions and endings of words to greatly revising the content. Significant adaptations were found in the following cases: first,such phrases as could feel decadent or sentimental were revised or removed; secondly, the real names of literary figures were replaced by noncommittal expressions or removed; thirdly, tone changes were prominent. In the adapted poems, tones of ordering or requesting became more prevalent, and tones of asking were replaced with declarative ones in many cases; and finally, unnecessary expressions were omitted in the adapted poems, which seems to have been a strategy of attracting popularity. Those content adaptations must have been under the influence of North Korea's directions and keynotes in art and literature policies demanded during the restoration and construction period after war.